“Best of all was Siobhan Stagg, a Pamina who seemed completely suited to the role, releasing a stream of beautiful sound when needed, and with the heft and passion to make ‘Die Wahrheit’ the hinge of the entire drama.” Roger Parker, Opera Magazine (UK).

“Two stand-out performances anchor this Flute. As the heroine Pamina, Siobhan Stagg is a touching and musically delicious discovery – although those of us fortunate to have heard her jump-in account of Rossi’s Orpheus would expect nothing less. The young Australian is the next big thing.” Mark Valencia, What’sOnStage.

“… Peter meets his match in Stagg’s animated and expressive use of the text, sensitive, stylish phrasing and beautifully clear timbre. Far from being rescued by Tamino, it is Pamina who rescues her prince by taking his hand and leading him through the trials.” Anna Picard, The Times.

“(Siobhan Stagg) really seems to mean every word. Hers is a warm, lithe soprano, and one that captures the character’s girlishness.” Hannah Nepil, Financial Times.

“… Australian soprano Siobhan Stagg was pure delight in the role to which she brought a deliciously clear voice and fine acting skills.” William Hartson, Express.

“Siobhan Stagg gave a glorious performance as Pamina. It was a heartfelt portrayal of great poise with a voice of sensitive clear timbre and a flawless technique. Her Act II aria Ach, ich fühl’s received rapturous applause, and deservedly so.” Alistair Jackson, ABR Arts (Australian Book Review)

“Williams was at his finest, though, with Siobhan Stagg’s plucky Pamina in “Bei Männern, welche Liebe fühlen” … Williams and Stagg sang with great tenderness and simplicity.” Mark Pullinger, Bachtrack.

“(Siobhan Stagg) gave a strong Pamina throughout the evening. The sound of her voice was rich and moved with ease, giving an extremely heartfelt performance of Pamina’s suicide aria.” John Beckett, Schmopera.

For Victorian Opera’s 2018 season launch: “Those familiar with her astonishing voice will rejoice at the return of Victorian soprano Siobhan Stagg. Fresh from great success as Pamina in The Magic Flute at Covent Garden, Stagg makes her role debut as Melisande in Debussy’s Pelleas and Melisande.” Bridget Davies, Sydney Morning Herald.

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For Haydn Die Schöpfung at the Haydn Festival in Vienna, with Enrique Mazzola and the Orchestre National d’Ile de France, August 2017:

“Siobhan Stagg an unalloyed success in Melbourne Symphony Orchestra recital… well-suited to both Gabriel and Eve roles, she demonstrated unerring accuracy in the composer’s tensile upper-line arcs and occasional rapid ornamental flourishes, as well as having a creamy fullness of timbre that gave weight and interest to her lower passages.” Clive O’Connell, The Age / Sydney Morning Herald.

“A key focus-point of the oratorio is, of course, its archangels Uriel, Gabriel, and Raphael, performed by (Andrew) Staples, (Siobhan) Stagg, and (Neal) Davies respectively… All performed convincingly – their duets and trios being the most compelling moments…” Ben Wilkie, Limelight Magazine.

“Siobhan Stagg’s Gabriel was exquisite –her luminous tone throughout the range was equally at ease with florid passagework and longer cantabile melodies, and her diction was always clear. Her serene appearance added to the effect.” Margaret Arnold, Classic Melbourne.

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For Pamina in Die Zauberflötewith Christophe Rousset and Les Talens Lyriques at Opera de Dijon and the Philharmonie de Paris, March/April 2017 and at Opera de Limoges, November 2017:

(Translation: Pamina is played by Australian soprano Siobhan Stagg – twirling Morgana (Alcina de Haendel) in Geneva last year – combining musicality and emotion. The voice, beautiful and admirably produced, is not very big but its impeccable projection makes it ring bright and round. The singer makes it a point of honour to carve each note, each line, and each word with remarkable care.”)

(Translation: The air “Ach, ich fühl’s” summarizes the talents of Pamina, assured in hot seriousness that rises with accuracy towards a round and well-produced top. Generous in breath, Siobhan Stagg is delicate and sounds to the heart, often moving.)

(Translation: ‘Radiating’ Pamina, Australian Siobhan Stagg, a member of the Deutsche Oper Berlin, won all the votes thanks to her lyrical soprano voice, full-bodied and luminous, delivering a beautiful “Ach ich fuhl’s” as well as a splendid suicide and especially a “Tamino mein” where it asserts itself with greatness.)

(Translation: Siobhan Stagg ‘s Pamina is fresh and subtle, she charms with her clear voice, and one’s heart is literally pierced when she throws a ” Fühlst nicht der Liebe Sehnen ” of rare sincerity and intensity.)

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For Strauss Lieder in recital at the Théâtre du Châtelet in Paris, February 2017:

Translation: Siobhan Stagg and Attilio Glaser opened the evening with Richard Strauss’ lieder. The Australian has a pure soprano that befits the composer with a beautiful intelligence of the text and a touch of poetry as a bonus.

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For Zemlinsky’s Lyric Symphony with the BBC Symphony Orchestra, Christopher Maltman and conductor Simone Young at the BBC Proms, Royal Albert Hall inAugust 2016:

“…the Zemlinsky was revelatory… Soprano Siobhan Stagg and baritone Christopher Maltman gave thrilling voice to Tagore’s transcendent poems, set by a composer who has languished too long in the shadows of Mahler and Berg. (Simone) Young oscillated sublimely between metaphysical twin poles, pivoting male and female around Zemlinsky’s central ‘Sprich zu mir, Geliebte’; this a near narcotic rapture at the music’s yearning heart.” Steph Power, Independent.

“While Stagg’s is not an enormous voice, there’s a blade to its purity that helped it project in this challenging space, carrying text and emotion to the back of the hall. The emotional arc of her delivery – from the innocent intensity of “Mutter, der junge Prinz” to the chilly withdrawal of “Vollende denn das letzte Lied” – was the thread on which the songs were threaded, a guiding constant through this extraordinary, excessive work.” Alexandra Coghlan, The Arts Desk.

“…aided here by two notable soloists, Christopher Maltman… and Siobhan Stagg, a vivid story-teller with a potent stage presence… Particularly compelling was the fourth section given to the soprano – “Speak to me, my love! Tell me in words what you sang” – which was total wonderment, spellbinding…” Colin Anderson, Classical Source.

“Baritone Christopher Maltman and soprano Siobhan Stagg sang seven songs of lost love and acceptance. Wagner reverberated, Mahler echoed but respectful Zemlinsky kept his identity as the singers, without breaks, sang the seven songs tracing their feelings from joy to painful separation. There was something strangely satisfying in the work’s grandeur …” Jeffery Taylor, Express.

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For the Roberto AlagnaAustralian Tour, with concerts at the Sydney Opera House Concert Hall & Hamer Hall, Melbournein July 2016:

“Stagg was a standout. The young singer from Mildura has been creating a sensation in Europe with the legendary former German mezzo Christa Ludwig describing her voice as “one of the most beautiful I have ever heard”… (Stagg) and Alagna displayed great musical chemistry and a flair for comic timing… Their duets were excellent, particularly Donizetti’s inebriated Caro elisir! sei mio! From L’Elisir d’amore. And there was more fun with the crowd-pleaser Funiculi Funicula and a duet version of Santa Lucia.” Steve Moffat, Daily Telegraph.

“In both her duet and solo items, Stagg displayed the piercing clarity and tonal purity than has won over European critics and listeners.” Murray Black, The Australian.

“…Australian soprano Siobhan Stagg well matched with Alagna. Her solo items were among the best things of the night. From a moving O mio babbino caro by Puccini, to a dazzling Non ti Scordar di me by Ernesto de Curtis.” James McCarthy, Limelight Magazine.

” Judging from the applause, many felt that Stagg’s rendition of O mio babbino caro was the operatic highlight of the evening. Intensely emotional and sung with full glorious tone… Her singing of Non ti scordar di me … was warm and relaxed. Soulful without being in the least saccharine or affected her interpretation was as well suited to the crossover style as Alagna’s… Alagna was totally charming as the enthusiastic but naive Nemorino and Siobhan Stagg was equally so as the wiser but equally charming Adina. Both were in terrific voice and immediately established a palpable rapport with the audience as well as each other.” Heather Leviston, Classic Melbourne.

“Alagna’s glamourous guest star, the elegant Siobhan Stagg was in fine form too, exquisitely and delicately moving in ‘O mio babbino caro’ from Puccini’s Gianni Schicchi for example, and having great fun in the enchanting duets (e.g. ‘Funiculi Funicula’ and ‘O Sole Mio’)… At the end of the performance there was a rapturous standing ovation. The audience would not let them go – Alagna and Stagg were required to do three encores and the audience were screaming for more.” Lynne Lancaster, Arts Hub.

(Translation: The real attraction is Siobhan Stagg as Sophie, a rising young coloratura from the troupe in Berlin, who we also heard last year in Brahms’ Deutsches Requiem with the Berliner Philharmoniker. Her control of line and ability in the high range is as impressive as the beautiful color of the grain in the middle, plus a cool stage presence.)

“Australian Siobhan Stagg sang a lovely Sophie tonight. In the Presentation of the Rose, her voice blended beautifully with Sindram’s. She also looked good on stage, her Sophie has just the right mix of spunkiness and girlish charm.” Joseph So, Musical Toronto.

(Translation: The Morgana of Siobhan Stagg brought a delicious end to the opera. ‘Tornami a vagheggiar’, an aria full of mischief, was hemmed with beautiful coloratura, supported by the gleaming orchestra. Her performance throughout the opera was a joy, and her aria ‘Ama sospira’ expressed emotion that allowed a generous vocalism with her healthy and fully-controlled instrument. Her “Credete al mio dolore” will remain one of the finest musical moments of the evening, the Australian soprano displaying much emotion in a heartbreaking duet with the beautiful cello François Guye.)

(Translation: Alongside Alcina, soprano Siobhan Stagg (Morgana) offers her freshness of voice with which she already did wonders as Marzelline in Fidelio in Geneva last June. Particularly appreciated was Credete al mio dolore, the third act duet with the beautiful tenor Anicio Zorzi Giustiniani (Oronte). Thanks to the sublime and inspired cello obbligato of François Guye, this was one of the most moving moments of the evening.)

(Translation: Ideal casting … A generation of performers in their prime. If we add to that the delicate and charming Morgana of Siobhan Stagg, with her agile and limpid light soprano … it must be concluded that this cast borders on perfect.)

“Powered by Christian Curnyn and his brilliant Early Opera Company band, this is an absolutely entrancing show… Siobhan Stagg sang it so convincingly from the gallery that the action spun seamlessly along.” Michael Church, The Independent.

“…gave us a chance to hear a new soprano of true individuality, Siobhan Stagg, delivering the part from above with stunning middle-range clarity and impeccable style.” David Nice, The Arts Desk.

“Siobhan Stagg sang stylishly from the gallery, her lament “Come, my tears! Why no weeping?” especially touching. Together they made an engaging team; there were times when you couldn’t see the join.” Mark Valencia, What’s On Stage.

“…it was a chance to hear the next generation of voices. Between Louise Alder, Siobhan Stagg, Keri Fuge and Lauren Fagan it’s a future with no shortage of superb sopranos.” Alexandra Coghlan, The Spectator.

For the ARD International Music Competition with the Munich Radio Orchestra conducted by Darrell Ang at the Prinzregententheater in Munich, September 2015:

Siobhan was featured in a 30-minute documentary by BR-KLASSIK radio during the ARD Competition in Munich. Reporter Anna Novak took an intimate look into Siobhan’s journey, from her modest beginnings in Australia to the grand stages of Europe. You can listen to the interview via this link.

(Translation: And finally there is Siobhan Stagg… What a vivid beauty of the voice, such freedom in the color scheme, what a fresh openness of style! Singing arias from Gounod’s Faust and Handel’s Giulio Cesare, within a few minutes all the characters come alive. Siobhan Stagg has a effortless height, giving in the Handel aria simple melodic lines with real sincerity. Bravo!)

For Faure Requiem with the West Australian Symphony Orchestra and Chorus conducted by Simone Young at the Perth Concert Hall, August 2015:

(Translation: The magnificent Siobhan Stagg kept the character of Dede suspended between ‘girl-next-door’ niceness and hysteria. Stagg’s pure, instrumental and controlled soprano with nuanced design were a highlight of the evening.)

(Translation: Radiant soprano moments were celebrated by Siobhan Stagg as daughter Dede… There was rightly fierce applause at the end.)

For Brahms’ REQUIEM with the Berlin Philharmonic conducted by Christian Thielemann, January 2015 (replacing Sibylla Rubens at short notice):

“The Australian soprano, who has been making a name for herself in Germany since she joined the Deutsche Oper Berlin as a young artist in 2013, has been asked by Staatskapelle Dresden supremo Christian Thielemann to sing in performances on Thursday, Friday and Saturday this week.” From the article, “Aussie soprano Siobhan Stagg gets her Berlin Phil call-up”, Clive Paget, Limelight magazine.

(Translation: Siobhan Stagg, who was standing in for the ill Sibylla Rubens at short notice, shone in “Ihr habt nun Traurigkeit” with her heavenly high tones and an angelic quality reminiscent of the incomparable soprano Gundula Janowitz.)

For Handel’s MESSIAH with the Melbourne Symphony Orchestra conducted by Matthew Halls at Hamer Hall, December 2014:

“In many respects, this year’s inevitable Handel oratorio stood out from the usual run… soprano Siobhan Stagg outclassed her peers for an unfussed, clear delivery, giving full satisfaction every time she stood up.” Clive O’Connell, The Age.

“Siobhan Stagg’s bright and clear soprano was the real highlight of the night. It was an exquisitely judged performance in every recitative and aria. She has a great stage presence and the luminescent quality of her voice (especially the top notes, but evident throughout her range) brought tears for some audience members. Her “How beautiful are the feet” was extraordinarily radiant. May the memory of this never dim.” Peter Williams, Classic Melbourne.

For Handel’s MESSIAH with the Adelaide Symphony Orchestra conducted by Matthew Halls, November 2014:

“Soprano, Siobhan Stagg has a delightfully true voice with a relaxed, almost imperceptible vibrato. Her performance of ‘I Know That My Redeemer Liveth’ has a joyous simplicity that won the audience over and put a gentle smile on the faces of many.” Kym Clayton, The Barefoot Review.

“Soprano Siobhan Stagg was a joy to listen to all night, her “There were Shepherds” and “For now is Christ Risen” her highlights. Stagg has an engaging sweetness, and beautiful voice with very clear diction.” Brian Angus, Backtrack.

For Bach MAGNIFICAT at St Paul’s Cathedral, Melbourne, November 2014:

“Outstanding amongst the soloists was Siobhan Stagg who gave a performance of simplicity and ease with the style. This was through beautifully nuanced singing through all registers. It was delightful for its clarity, openness of tone and well-articulated runs.” Peter Williams, Classic Melbourne.

For Haydn HARMONIEMESSE with Tasmanian Symphony Orchestra conducted by Johannes Fritzsch, November 2014:

For Najade in ARIADNE AUF NAXOS at the Berlin Philharmonie, conducted by Ulf Schemer in October 2014:

“The trio of mythic beings Naiad, Dryad and Echo were very different voice types, but the blend was still very pleasing: the versatile Siobhan Stagg delivered some delightful liquid roulades in her upper register as Naiad, underpinned by solid performances from Ronita Miller (Dryad) and Elena Tsallagova (Echo). Their later trio “Ein schönes Wunder” was particularly lovely.” David Larkin, Bachtrack.

For Bach’s Mass in B minor with the Melbourne Symphony Orchestra conducted by Stephen Layton, August 2014:

“It has been sixteen years since the Melbourne Symphony Orchestra last performed Bach’s sublime Mass in B minor – far too long. Perhaps they were waiting for Siobhan Stagg… With a chamber sized MSO under the expert direction of Stephen Layton, Stagg gave a convincing demonstration of why she is attracting an increasing number of international plaudits and invitations to perform in operas, oratorios and recitals. A radiant performer with a limpid purity of voice and resonant ease of production, she is an ideal exponent of Bach’s music. Not only was her aria beautifully sung, but her vocal command and musical sensibility resulted in a graceful and gratifying blend of voices in her duets with counter-tenor Christopher Lowery and tenor Nicholas Mulroy.” Heather Leviston, Classic Melbourne.

For Bach’s St John Passion with the Auckland Philharmonia Orchestra, conducted by Stephen Layton in August 2014:

(Translation: “… a singer with the most prestigious gold throat [sic] that you can imagine: the prizewinner is a soprano called Siobhan Stagg and she comes from Australia. She sang the aria from Gustave Charpentier’s LOUISE with such consummate beauty of tone that you could be addicted to this voice. Fortunately, the Deutsche Oper am Rhein took advantage of the situation and engaged the singer on the spot.”)

(Translation: “My favorite of the evening was Siobhan Stagg, who also convinced the media jury. You heard it from the ‘bravas’ from the audience: she really is a complete singer. Intelligent, and with a beautiful voice.”)

(Translation: “Siobhan Stagg surprised with an incredibly effortless and impressive sound production, making the aria ‘Depuis le jour’ into an event.”)

For Werther at the Berliner Philharmonie, conducted by Donald Runnicles, June 2014:

“Siobhan Stagg sang an excellent Sophie, her soprano bright and crystal clear. Sophie, too, gets a bad rap for her continual cheer, but Stagg brought gravitas to the role. “Du gai soleil, plein de flamme” was sung with exquisite sweetness; there was nothing cloying in Stagg’s performance. Later, in the Act III scene with Charlotte, she was sensible and kind, worried about her sister’s increasing morbidity.” Christie Franke, Bachtrack.

(Translation: “The young Australian Siobhan Stagg makes a lasting impression as Sophie. Her elegant, light-coloured soprano brings a lyrical lightness to the music… Siobhan Stagg is the only one in the ensemble who gives a true French colouring to Massenet’s opera.”)

(Translation: “My favourite was Siobhan Stagg as the 15-year-old Sophie, a fresh, bright soubrette with a wonderful personality, she made the odious entrances and exits of a concert performance better than the others.”)

For Christa Ludwig Public Masterclass at the Deutsche Oper Berlin, June 2014:

(Translation: “The re-casting of Cordelia with young Australian soprano Siobhan Stagg can be described as a stroke of luck; proving on this occasion that young artists are more than capable of bringing such complicated characters to the stage.”)

For Les Troyens at the Deutsche Oper Berlin, conducted by Paul Daniel, April 2014:

(Translation: “…the Rhine daughters were cast with a pleasantly light and beautiful sound… as they sang the text extremely clearly, almost as if they were presenting songs by Mendelssohn, it was a pleasure to listen to them at their game with teasing Alberich.”)

For the Salzburg Festival premiere of Jeanne d’Arc (Braunfels) with the Vienna ORF Radio Symphony Orchestra conducted by Manfred Honeck, 1 August 2013:

“A passionately performing cast, virtually without weaknesses but choc-full of delights furthered the experience. The small rôle of St. Catherine was helped to unexpected prominence by the wonderfully appealing, charismatic voice of soprano Siobhan Stagg, a fresh and healthy instrument, with friendly ease through every register.” Jens F. Laurson, Ionarts.

“…two of the soloists are ready for the main stages of the world… Australian Siobhan Stagg, the most natural voice of the evening. Totally unpretentious and touching…” (translated excerpt from full German review: oe24.at)

“These two skilled, accomplished and committed artists gave a wonderful concert of art songs…varied, attractive and finely chosen… Siobhan Stagg has a warm, skilful voice, accurate and flexible with a beautiful tone and sensitive phrasing… The intelligence, generosity and range of this concert were remarkable, and I am glad to relate that the songs have been recorded by Move Records…If you missed the concert, purchase of the CD is strongly advised!” Darryl Emmerson, Australian Stage.

“…a sensual, rich celebration of love…a well-paced and varied program…the opening item, Delibes’ Les Filles de Cadix, put one in mind of Carmen – as did Stagg, in a becoming, strapless red dress. The song was a good choice for her lovely rich voice, with trills and high notes confidently managed. Already well in command of the stage, Stagg described art song as a match of text and music… At last came the highlight of the concert: Zueignung by Richard Strauss… it gave Stagg’s voice the chance to soar… Simply a gem…. Both singer and pianist conveyed the beauty – and nostalgia – purely, authentically and entirely in harmony with each other.” Read the whole review by Suzanne Yanko for ArtsHub.

For Melbourne Symphony Orchestra’s ‘Mozart and Mahler’ concert at the Sidney Myer Music Bowl, February 2013, with an audience of 10,000 people:

“The best work of the night was in Mahler’s Symphony No. 4 with soprano Siobhan Stagg as radiant soloist in the work’s final movement.” Martin Duffy, The Age.

Praise for “Ay Portugal” CD with La Compania, released by ABC Classics in 2012:

“We’re pretty lucky in Melbourne to have access to musicians of this calibre. Although we’re about to lose Siobhan Stagg to the UK for a while, you can hear (this) virtuosic soprano on the latest disc from (La Compania). This is a seriously good disc that is well worth repeated listens.” Kate Rockstrom, Readings Online.

For Handel’sMessiahwith the Royal Melbourne Philharmonic, December 2012:

“Siobhan Stagg’s first Messiah was eagerly awaited by her growing number of fans. The allure of her distinctive voice once again illuminated the music at every turn. The ease of her precise, fluid coloratura for ‘Rejoice’ was complemented by a warmly expressive legato for ‘I know that my Redeemer liveth’. When she sang ‘How beautiful are the feet’, you could not help but think how beautiful is the voice. Siobhan Stagg has a very rare talent that is bound to attract international recognition as she continues to make her mark overseas.” Heather Leviston, ArtsHub.

For Carols in the Cathedral with the Royal Melbourne Philharmonic and Australian Children’s Choir, December 2012:

“More angelic music emanated from a radiant Siobhan Stagg. Dressed in emerald green and standing in the pulpit, she sang a range of beautiful Christmas music… This was Christmas music at its best.” Heather Leviston, ArtsHub.

For Monteverdi L’Orfeo with the Australian Brandenburg Orchestra, September 2012:

“Ms Stagg was her usual sublime self; her mastery of the French language shone throughout her rendition… Her performance was simultaneously polished and accessible,” Betty Barker, Vulture Magazine.

“…conductor Paul Daniel turned to the audience and asked how you could follow such “completely exquisite” singing. Like Shéhérazade, soprano Siobhan Stagg had woven a spell so enthralling that the audience was convinced that anything more would have to be an anticlimax.

Stagg’s distinctive voice and radiant presence were beautifully suited to Ravel’s aesthetic. She rode the undulations of the Debussy-inspired music with vocal security; pitch, length of phrase and nuance of colour were all at the service of her total engagement with the subtleties of the text. In addition to revelling in the catalogue of riches to be savoured in the exotic lands of Asia, she conveyed an innocent wonder and relish at the darker features. As Siobhan Stagg left the stage in a swish of sea-blue skirt, the audience showed its appreciation of a very special performance by a singer who is on the brink of an international career.” Heather Leviston, Artshub.

For “Queen of the Golden Age” with La Compañia at the Melbourne Recital Centre, June 2012:

“Other Dowland works showed Stagg’s purity of intonation and her generally reliable breath control in the long arches…” Clive O’Connell, The Age.

For “Melodia Antica” with La Compañia at the Melbourne Recital Centre, April 2012:

“(Ms Stagg) showed her capacity for virtuosity from the few great jumps in pitch, the short trills and short cascades of faster notes, with one very loud climax.” Andrew Miller, Berkshire Review.

“soprano Siobhan Stagg fluttered around the trills and runs of the aria Qui piegate, qui posate (the text speaks of doves) with quiet clarity – at the cadenza one could imagine the doves had found a birdbath.” Peter McCallum, Sydney Morning Herald.

“… it was the aria, with soprano Siobhan Stagg, that was the standout, her voice strong and warming, which, combined with the red dress she was wearing, had most eyes in the Hall focused on her.” Tomas Boot, Artshub.

For Latitude 37 album, nominated for Best Classical Album in 2011 ARIA Awards:

“One senses the ensemble’s inventiveness as a whole as well as the personalities of the players and their guests…with Siobhan Stagg’s light soprano beaming through clouds.” Melissa Lesnie, Limelight Magazine.

For Meistersinger Vocal Competition Final in Austria, August 2011:

“Siobhan Stagg presented an intense interpretation of Giulietta’s aria from Bellini’s “Capuleti e i Montecchi” with a high level of vocal technique, clear diction and concise expression, taking out both prestigious prizes.” Translation of German review, Kleine Zeitung.

For “Celestial Vivaldi” with the Australian Brandenburg Orchestra, Sydney and Melbourne, September 2011:

“…delivered with suitably spring-like freshness by Siobhan Stagg who impressed by maintaining her pitch in a particularly long unaccompanied passage.” Suzanne Yanko, Artshub.

“Throughout the evening Miss Stagg delighted and surprises with range, expression and passion. At one point she seemed to draw breath from the entire room and return it with the sound beginning at her at her feet and travel up through her person to emerge as one glorious sound. Breathtaking stuff.” Dirk Bromley, audience reviewer for Australian Brandenburg Orchestra.